The Script Adventurer!

Maybe next year

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So close to being done, but just not enough

Based on my recent productivity, or lack thereof, I don’t think the DREAMSHIP rewrite will be ready for the Nicholl deadline.

At first I was pretty disappointed in myself. I’d set a goal, but fell short.

But while it’s taken longer than I wanted, I’d rather take the time to make sure it’s a solid piece of material, and not “good enough for now”.

And it didn’t help that my work schedule the last few weeks has been all over the map, which completely messed up my chance to just take some time to sit down and write. But it’s starting to calm down a bit, so I’ve been able to make a little headway. Latest example – 3 pages yesterday.

Besides, if things work out the way I’d like them to (re: agent, manager), I won’t worry as much about making next year’s deadline.

-In case you missed the most recent edition of The Script Adventurer!, it’ll be on again this Sunday at 7PM PST. I had the pleasure of talking with Danielle Corsetto, creator of the webcomic Girls With Slingshots. I got a very nice email from her afterward saying it was one of the most complimentary interviews she’d ever done, which I guess is saying something.

-Movie of the Moment – I forgot to post this last week, so another twofer.

-MONEYBALL (2011). Loved it. A great look at behind-the-scenes baseball. Especially poignant to me since my daughter loves the A’s. Very worthy of a Best Picture nomination; seemed more like that kind of movie than THE ARTIST or HUGO, which now come across as lighter, fluffier works.

-DRIVE (2011). Loved this too. An extremely quiet movie that simmers with suspense in a lot of scenes. Not as gory as I’d been led to believe, but a lot of make-you-squirm scenes both on- and off-camera. I was surprised Albert Brooks had such a small part, but I agree that by playing completely against type, he was (no pun intended) criminally overlooked for a Best Supporting Actor nomination.

I can see clearly now

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Ahoy! Rewrite dead ahead!

This week’s installment of The Script Adventurer! featured an interview with the multi-talented Heather Hale.  She’s worked as a writer, a director, a producer and as a consultant, so she definitely knows her stuff. (Mark your calendars – the show re-plays Sunday at 7PM on radioslot.com)

I always like to know what key piece of advice a professional or working writer would offer to the rest of us.  A thought or phrase to jot down on an index card and attach to the wallspace in front of your working area.

Heather named two.

1. Clarity is king.

You may know your story inside and out, but if the person reading it can’t follow it or is confused as to what’s going on, then you’ve got a problem.

It doesn’t matter if you’ve got the most brilliant concept ever.  The plot and story have to be clear so anybody can pick up the script and know exactly what’s going on.

It’s up to the writer to make their story as easy to follow and comprehend as possible, or else the reader/audience will get lost in the story, and not in the good way.

2. The reader is never wrong.

You think your script is perfect. The reader knows better. It’s their job to go over it with a fine-tooth comb and look for flaws.  And unless you’ve attacked that script from every conceivable angle, fixing any potential problem you can think of, they will find them.

The reader really does want to like your script, but if you give them any reason to say no, there’s no reason to be bitter about it.  They know what they’re talking about.  Look at this as an opportunity to make your script better or stronger than it was before.

-Movie of the Moment: Three over three days!  It’s been a long time since I’ve done that, and two were actually in theatres. Wow!

THE HUNGER GAMES (2012). I read the book last month, so it was pretty fresh in my mind. I liked it, although it could have been a little shorter. I can appreciate a strong female protagonist, and it’s easy to see why Katniss has caught on.  She’s tough and doesn’t give up.  Congrats to Jennifer Lawrence for doing a solid job in the lead.

I also really enjoyed Stanley Tucci as Caesar Flickerman, the blue-coiffed TV personality with perfect teeth. A great accomplishment in casting.

My only complaint – Katniss doesn’t always drive the action forward. She’s more reactive than active in some scenes.

-THE SECRET WORLD OF ARRIETY (2010). Another animated gem from Miyazaki and Studio Ghibli, based on the classic books THE BORROWERS.  A recurring theme in a lot of their films is the main character’s coming of age. And this one is no exception. If it weren’t for 3 of the characters being 3 inches tall, this could easily pass as a stage production. Good for all ages.

-RISE OF THE PLANET OF THE APES (2011). Smart and well-written. Easy to see why this was a surprise hit last summer. Especially fun if you’re familiar with the original films. K made an interesting point in that you’re rooting for the apes to win, which would mean the eventual downfall of humanity.  Count me in the camp of those who think Andy Serkis should have gotten some kind of recognition for his mocap work as Caesar.

Finding a method in all that madness

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pre-computer 'delete' button

I was doubly fortunate to interview two writer-directors live and in-studio on yesterday’s installment of The Script Adventurer! – Joshua Grannell and Mary Regan.  Among the many subjects discussed was how each of us develop our ideas, especially in the beginning phase of building a script. (If you weren’t able to catch the show live, never fear – it will replay this Sunday at 7PM PST on radioslot.com)

While everybody has a different approach to how they put a story together, the style is usually very similar.  You come up with an idea, then figure out how to develop a story around it. Some people like to come up with as many potential scenarios that could arise from that original idea. Others may choose to meticulously weave an intricate web of storylines around it.  There’s also the time-honored practice of metaphorically throwing everything at a wall and seeing what sticks.

No matter what your style, it’s extremely important to hammer out all the kinks of your story BEFORE you start on pages.  It’s a lot easier to fix a problem contained in one sentence rather than one page.  This will also cut down on your frustration over having to go back and edit and/or rewrite.

Another plus is it gives you a more condensed and detailed view of your story, so it’s easier to keep track of where something happens if you need to jump back in and fix it. This way you’re not wasting time scrolling through pages trying to find that one thing you need to change.

Maybe this comes from years of focusing more on the outline first, but I’ve found that once I’m satisfied with how the outline is put together and start on pages, if I find something that needs to be fixed or I come up with a way it could be better, making those changes is a lot easier than it used to be.  I suppose it’s because I already know what the point of the scene or sequence is, so I don’t have to worry about what’s supposed to happen next and can instead channel my creativity into making it stronger/more effective.

A decent wifi connection will set you free

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I'm in the mid-upper left. Where are you?

I had a great conversation with Richard Walter on yesterday’s edition of The Script Adventurer!.  He was his usual entertaining, anecdote-filled self. (Missed it? Never fear – it’ll play again Sunday at 7PM PST on radioslot.com)

There were two things in particular he talked about I thought were extremely important for any screenwriter to keep in mind.

When asked what was the most important thing any writer should know, his answer was Move The Story Forward.  If you have an interesting story that really flows and holds the reader’s attention, then your script is already that much more ahead of others.

Scene A should lead into Scene B, which leads to Scene C, and so on and so on. But if Scene R can fit between B and C, and not disrupt the flow, then it shouldn’t have been Scene R in the first place, or maybe R needs a serious rewrite.

The other thing was that unless you want to be part of series television, it’s not absolutely necessary to live in Los Angeles to be a screenwriter.  In fact, he added that it may even be an advantage:  you’re not constantly surrounded by people in the industry.  I cited Nick Schenk of Minneapolis, who wrote GRAN TORINO.

A big reason for this shift in thinking is the internet.  Query letters by email. Scripts attached as a pdf.  A ton of resources and groups available online.  I’ve connected with writers around the world via Twitter, which at times seems completely mind-blowing.  I could ask for feedback on a script and get responses from just about anywhere.

With a solid script and an internet connection, there’s no stopping you.

Always room for improvement

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Some minor fixes can make all the difference

When it rains, there are more problems out on the roadways, resulting in more work for us already heavily-burdened traffic reporters. End result – I’ve worked a lot of hours this week, so not as much time to write as I’d hoped.  A couple of pages a day at best.  Positive spin – nearing the end of Act Two.

Even though I’m working off an outline, sometimes a new approach to a scene will pop in.  Will this work? Does it impact the scene better than the original? Is there conflict? Does it move the story forward?  If it involves the main character, is he the one driving the action? (important questions all).  If I can say ‘yes’ to these questions, then I give it a try.  Lately, it’s been working out.

Case in point: the current sequence.  The way I had it was good, but thought it could be better.  I wanted to expand on it a little.  Keep the tension going.  What would be the most effective way to accomplish this?  I came up with a few different scenarios, finally picking the one I thought worked best. The reshuffling of and minor rewriting of the involved scenes wasn’t as bad as I expected, and I liked the end result.

-My guest on The Script Adventurer! this coming Monday will be UCLA Screenwriting Dept Head Richard Walter.  If you have a question you’d like to ask him, email it to me and I’ll try to ask it during the show.

-Movie of the Moment – JOHN CARTER (2012). This was not the debacle I’d been led to believe; it was actually pretty good. Although I didn’t see the need for the 3-D.

For the most part, I liked it, but some of the story details were a little confusing.  I remember that from the book as well.  If I really like a movie I see in the theatre, I’d consider planning ahead to get it on DVD. I didn’t get that vibe, but I’m more likely to read the book again.

I was surprised Michael Chabon had a hand in the script. I can see that, especially after the great job he did on SPIDER-MAN 2.

Disney’s marketing department completely messed up.  You’d think they’d know better.  A sci-fi adventure story with romantic elements.  How can you not sell that?

I thought Taylor Kitsch did an okay job in the title role, but he looks too generic. A character like this needs more than just a pretty face and muscles.